Tag Archives: Jessica Swale

Jessica Swale’s adaptation of the Jane Austen novel whizzes along at quite a lick, condensing the action without cutting any of the important bits. What couldn’t be clearer is the chauvinism of the age and the restrictions placed on women: they can’t inherit, they can’t go anywhere alone with a man – both of which are important plot points. Mrs Dashwood and her daughters are dispossessed after her husband’s death and find themselves in reduced circumstances, swapping the family’s grand home for a little cottage near Exeter. Suitors come calling, scandals come to light… On the surface, it’s a frothy rom-com but beneath it’s a biting social satire. The wry wit of Jane Austen powers the exchanges and fuels the dramatic irony of the situations.

Karen Kelly makes a warm-hearted matriarch as Mrs Dashwood – her announcement of her husband’s death is strongly handled. Naomi Jacobs is suitably restrained and fretful as the serious Elinor; Elinor is the ‘Sense’ of the title, ruled by her head; Marianne the ‘Sensibility’, ruled by her heart and her impulses. Both are played well but I would like more contrast between them. Stephanie Cole’s Marianne who could do with being giddier or at least smiling more, especially from the off. When reading poetry, she should really go for it. Charlotte Upton, in a convincing portrayal as little sister Margaret, seems to embody both aspects of heart and head, in her childlike thirst for knowledge and honest reactions to events.

Thomas Leonard looks the part as the dapper Edward Ferrars, but could do with being a little bit more cut-glass in his delivery of Austen’s erudite dialogue. Jacob Williams makes a pleasant Mr Willoughby, while James Lewis amuses as the sarcastic Mr Palmer. Jordan Bird offers strong support as faithful servant Thomas but Adam Ragg’s Colonel Brandon is a particularly fine characterisation: the stiff-upper lip, the British reserve, the gentlemanly qualities. Decency oozes out of him.

The evening belongs to Laura Poyner, superb in both her roles. Provincial Mrs Jennings’s vulgarity and lust for life is in stark opposition to her snobbish Mrs Dashwood – her Fanny is a joy to behold. The stage comes alive whenever Poyner is on and most of the cast is able to match her energy and commitment.

James David Knapp’s direction keeps the action clear in this stylish and slick production that should do well on its tour of other venues. His original music is bittersweet and evocative. Above all, the play serves as a showcase for the excellent costume team at the Crescent, with flawless and impressive work from Vera Dean, Pat Brown and Olivia Barnes. Keith Harris’s simple yet elegant set: three period doorways among a landscape of books proves a versatile backdrop.

An enjoyable comedy of manners that brings a classic book to life in an accessible and entertaining way.

Originally produced at the Globe in 2013, Jessica Swale’s drama charts an academic year in the life of a group of female students at Cambridge’s Girton college. It’s 1896 and the ladies are there on sufferance, rather than suffrage – their studies will get them nowhere and they are struggling to be awarded the right to graduate. The fight mirrors the wider campaign for the Vote, and, if the male characters of this piece are anything to go by, they are not a good advertisement for the gender. The sexism is overt, laid on with a trowel, neatly dividing the cast into heroines and villains. Where the line is blurred is when female characters such as Miss Welsh decries her Suffragette sisters, and lecturer Mr Banks sides with the ladies.

Colette Nooney is striking as Miss Welsh, imperious and determined, while Jacob Williams’s Banks is a perfect piece of characterisation, from the look to the smallest mannerisms. They look the part because yet again Stewart Snape’s costumes are spot on.

The Crescent’s Youth Theatre has amassed a strong ensemble, led by Jessica Shannon as Tess, in a remarkably nuanced performance that endears the character to us from the off. She is supported by Neve Ricketts’s well-travelled Carolyn, Jessica Williams’s forthright Celia, and Charlotte Upton’s Maeve – who has a powerful moment when fetched home by her yokel brother Billy (Tate Wellings). Holly Mourbey is effective as Miss Blake and there is humour from Laila Abbuq as Minnie the maid. Jessica Potter makes an impression as strict chaperone Miss Bott.

Of the men, a right bunch of pompous prigs, Julian Southall stands out as Edwards – especially when drunk – and Laurenc Kurbiba makes a suave, caddish Ralph. Villain of the piece is Charlie McCullum-Cartwright as Lloyd – one can easily imagine the Bullingdon Club adopting him as a mascot. Jack Purcell-Burrows shines as the decent, gentlemanly Will, but on the whole, we wince, cringe and flinch at the abhorrent attitudes on display. A dying breed? I would like to think so.

James David Knapp directs with an assured hand, providing crescendos of high drama among the rituals and routines of college life. The humour is well-timed and, for the most part, the cast handle the heightened language and stuffy accents with aplomb. Keith Harris’s attractive set of Gothic arches divided by bookshelves serves to represent both the interior and exterior of the college, while Chris Briggs’s lighting adds to the sense of location and the atmosphere.

A challenging play well-presented, this production of Blue Stockings has legs.